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m has an eerie moment of foreboding when a soldier talks about his desire to help the Iraqis when he ? st arrived, but after experiencing violent attacks by insurgents, he no longer cares. The idealistic lieutenant was wounded in 2005; another participant is in Afghanistan; several others have returned to civilian life. Whereas in The Anderson Platoon attention is limited to the fairly uncharismatic soldiers and their business at hand, in the digital age, empathy for the lives documented is stretched beyond the text, often with explicit political intent. With Patricia Foulkrod’s The Ground Truth (2006), several of the soldiers featured have since become celebrity speakers at activist gatherings. The most unusual example of documentary-generated celebrity is Josh Rushing, the American army public relations of? er in Control Room. After his appearance in the ? m and his retirement from the army, he was hired by Al-Jazeera as a lead reporter for its English-language edition. At the other extreme, the ultra-right Front Page Magazine acidly commented: “Now this en- emy-pandering nimrod, Josh Rushing, is the new face of America to billions of radical Muslims worldwide” (Schlussel). Perhaps it is a measure of our society’s need for celebrities that ordinary people snatched from documentaries sud- Low-budget video-making has produced documentaries with countercultural political messages, such as Battleground: 21 Days on the Empire’s Edge. B ATTLEGROUND: 21 D A YS O N THE E MPIRE ’ S E DGE Guerrilla News Network, as the name implies, is committed to making on-the- ? material that is outside the mainstream. The antecedent in the Vietnam War was the Newsreel collective, which in turn traced its lineage back to activ- ist ? mmakers of the 1930s such as the Film and Photo League (Barnouw).

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